Re the second half of M's Il Verno - I think you're wrong and are
imposing a retrospective modern judgement on an earlier style.
Meanwhile - happy to say that I have come up with the perfect solution for
me at least.
On F you play iib7
On G you play V7/4 i.e. the F and the C in the voice part are the the
dominant 7th combined with the suspended 4th. Both the 7th and the 4th are
prepared in the previous chord and resolve correctly at the cadence.
Not being a continuo player these solutions are not immediatly obvious to me
and whether the resulting harmony is 20th century or 17th century I don't
know but this way you also retain the hemiola effect in the accomapniment.
O happy day - the sun is shining.
Rgds
Monica
>> alfabeto asequence was created to which tunes (and bass) were
later
>> added.
I think the point is not that alfabeto sequences were created out of
the
blue and then melodies added to them. Rather existing well defined
alfabeto sequences with their basses were used as the basis of some of
the
songs. The other point which Dean tries to illustrate is that rather
than
just adding alfabeto chords to the bass line regardless of the voice
part
whoever provided the alfabeto has tried with some success to fit well
defined sequences of alfabeto chords - particularly I IV I to the
melodies with their bass lines.
>> Rehgarding Il Verno - yes I am sure. A hemiola in just the upper
part
>> is by no means unkown in the Italian repertoire (vocal and
>> instrumental) of the period. Look at Bounamente, Falconierio et
al. It
>> also works very well in practice. We should not always aim to
smooth
>> out these passing things as the 19th/20th century arrangers
sometimes
>> attempted.
It is not so much the hemiola - the harmony implied does not make
sense.
The sequence iib7 V4-3 I is absolutely standard and occurs
frequently
in Marini. When it does he treats it as a 4-3 suspension in the
guitar part -
because iib7 is not an option on the guitar. Can you give me an
instance
where the two harmonies are superimposed in the way that you think they
should be here. What notes would you add to the g in the bass when
the melody
has f-c.
>
> Indeed not. But with voice + alfabeto the hemiola would coincide,
while
> with voice + alfabeto + bass I see more difficulty.
The difficulty is determining what the correct bass note and harmony
is.
It has nothing to do with the alfabeto.
Regards
Monica
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